Wim Wenders and Thierry Frémaux signalled their support on Saturday for the Hollywood actors strike as the industrial action hits its 100th day.
“I understand the actors who all want to profit a little more… rather than there being just a dozen big names who have high salaries… while all the others earn nothing or very little,” Wenders told a press conference at the Lumière Film Festival.
The German director is guest of honor at the 15th edition of the festival, spearheaded by double-hatted Cannes Delegate General Frémaux in his role of director of the Institut Lumière in Lyon, preserving the legacy of cinema pioneers Auguste and Louis Lumière.
Frémaux seconded Wenders’s words.
“The universal dimension of this strike is perhaps a bit underestimated… France, which has a reputation for struggle and putting up a fight, can also look with admiration at what is happening in Hollywood for something that touches us all,...
“I understand the actors who all want to profit a little more… rather than there being just a dozen big names who have high salaries… while all the others earn nothing or very little,” Wenders told a press conference at the Lumière Film Festival.
The German director is guest of honor at the 15th edition of the festival, spearheaded by double-hatted Cannes Delegate General Frémaux in his role of director of the Institut Lumière in Lyon, preserving the legacy of cinema pioneers Auguste and Louis Lumière.
Frémaux seconded Wenders’s words.
“The universal dimension of this strike is perhaps a bit underestimated… France, which has a reputation for struggle and putting up a fight, can also look with admiration at what is happening in Hollywood for something that touches us all,...
- 10/21/2023
- by Melanie Goodfellow
- Deadline Film + TV
Alla Kovgan at Magnolia Pictures on Cunningham composer Hauschka: “He became almost like a ceramic artist who would give a shape to the entire film.” Photo: Anne-Katrin Titze
Alla Kovgan’s Cunningham, shot by Mko Malkhasyan with Joséphine Derobe (Wim Wenders’ Les Beaux Jours D'Aranjuez with Reda Kateb and Sophie Semin; Everything Will Be Fine; The Berlin Philharmonie in Cathedrals Of Culture; Pina and If Buildings Could Talk with Alain Derobe) as the Director of Stereography, Director of Choreography Jennifer Goggans with Supervising Director of Choreography Robert Swinston and a flawless score by Hauschka aka Volker Bertelmann (BAFTA and Oscar nominated composer with Dustin O'Halloran for Garth Davis’s Lion) takes us creatively into the world of Merce Cunningham.
John Cage with Merce Cunningham and Robert Rauschenberg Photo: Douglas Jeffrey
In the first half of my conversation with Alla Kovgan we discussed Merce Cunningham’s collaborations with Robert Rauschenberg and...
Alla Kovgan’s Cunningham, shot by Mko Malkhasyan with Joséphine Derobe (Wim Wenders’ Les Beaux Jours D'Aranjuez with Reda Kateb and Sophie Semin; Everything Will Be Fine; The Berlin Philharmonie in Cathedrals Of Culture; Pina and If Buildings Could Talk with Alain Derobe) as the Director of Stereography, Director of Choreography Jennifer Goggans with Supervising Director of Choreography Robert Swinston and a flawless score by Hauschka aka Volker Bertelmann (BAFTA and Oscar nominated composer with Dustin O'Halloran for Garth Davis’s Lion) takes us creatively into the world of Merce Cunningham.
John Cage with Merce Cunningham and Robert Rauschenberg Photo: Douglas Jeffrey
In the first half of my conversation with Alla Kovgan we discussed Merce Cunningham’s collaborations with Robert Rauschenberg and...
- 12/11/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
In 1985, German director Wim Wenders was prodded by his girlfriend to watch a performance of choreographer Pina Bausch's eerie Café Müller. As he recalls it now, he dreaded the evening that awaited, not knowing that what he was about to witness would change his movies and his life. Twenty-seven years later, the 66-year-old Wenders has earned his second Oscar nomination for helming Pina, a 3D documentary tribute to Bausch that features her company Tanztheater Wuppertal Pina Bausch performing some of her best known pieces. While Wenders had become her friend and admirer, Bausch sadly was unable to see the final film or even participate in the shooting because she died unexpectedly in 2009 at the age of 68. Nonetheless, she's helped Wenders, whose other films include classics like The American Friend, Paris, Texas and Wings of Desire, gain some of the best reviews of his career. Speaking by phone from Los Angeles,...
- 2/21/2012
- by Dan Lybarger
- Moviefone
#74. Pina Director: Wim WendersProducers: Gian-Piero RingelDistributor: Rights Available. The Gist: ...Through the collaboration of Pina Bausch and Wim Wenders, along with the pioneer of European stereographie Alain Derobe, we will set a new benchmark for 3D. Pina Bausch, artistic director of the Tanztheater Wuppertal Pina Bausch since 1973, has expanded and reformulated the language of dance with her innovative and unique choreography. Her work has become legendary and performances continue to sell out world-wide.....(more) List Worthy Reasons...: Can't say I've cared much for Wenders work, at least not since 99's Buena Vista Social Club and I don't care much for modern dance, but after having seen the trailer I'm starting to think that this is one of the rare times where I'm excited for what 3D can do. Looking at the trailer, this looks like a mixture between Fellini and Greenaway's work, Pina Bausch's modern dance influence is...
- 1/12/2011
- IONCINEMA.com
The 3D revolution is coming to dance. Pioneering film-makers, among them Wim Wenders, tell us why the two were made for each other
Wayne Eagling is not sure what to expect. The choreographer is sitting in front of a large monitor, clunky glasses balanced on his nose. He's about to view the first footage of his ballet Men Y Men, a celebration of the poetry and virtuosity of male dancing, which is being filmed in 3D for TV. "When I think of 3D," he says, "it's always that moment in the Andy Warhol movie Frankenstein, where the stake goes through the body, and the liver seems to be dangling right out of the screen." He jokes nervously: "That's not the kind of effect I'm hoping for here."
When the monitor flickers on, Eagling relaxes. "Its good, very lifelike, almost as if you're watching from the front of stage." The dancers – members of English National Ballet,...
Wayne Eagling is not sure what to expect. The choreographer is sitting in front of a large monitor, clunky glasses balanced on his nose. He's about to view the first footage of his ballet Men Y Men, a celebration of the poetry and virtuosity of male dancing, which is being filmed in 3D for TV. "When I think of 3D," he says, "it's always that moment in the Andy Warhol movie Frankenstein, where the stake goes through the body, and the liver seems to be dangling right out of the screen." He jokes nervously: "That's not the kind of effect I'm hoping for here."
When the monitor flickers on, Eagling relaxes. "Its good, very lifelike, almost as if you're watching from the front of stage." The dancers – members of English National Ballet,...
- 9/28/2010
- by Judith Mackrell
- The Guardian - Film News
Cannes -- Palme d'Or winner and digital film enthusiast Wim Wenders' next project is "Pina," a collaboration with avant-garde choreographer Pina Bausch on what is being called the first 3-D dance feature.
Shooting is set to begin in September, with Wenders' Neue Road Movies shingle producing in collaboration with Bausch's dance theater in Wuppertal, Germany.
"Only mainstream 3-D films have been available so far," Neue Road producer Gian-Piero Ringel said. "With 'Pina,' we (will) offer the first highly artistic 3-D film. We will set a new benchmark for 3-D."
Bausch, whose unique choreography is credited with revolutionizing the language of modern dance, will act as choreographer for the dance performance Wenders plans to capture on film.
French cinematographer Alain Derobe will lens the film.
Wenders' longtime sales partners Hanway Films will handle international rights.
The director's last feature, "Palermo Shooting," premiered last year In Competition at Cannes.
Shooting is set to begin in September, with Wenders' Neue Road Movies shingle producing in collaboration with Bausch's dance theater in Wuppertal, Germany.
"Only mainstream 3-D films have been available so far," Neue Road producer Gian-Piero Ringel said. "With 'Pina,' we (will) offer the first highly artistic 3-D film. We will set a new benchmark for 3-D."
Bausch, whose unique choreography is credited with revolutionizing the language of modern dance, will act as choreographer for the dance performance Wenders plans to capture on film.
French cinematographer Alain Derobe will lens the film.
Wenders' longtime sales partners Hanway Films will handle international rights.
The director's last feature, "Palermo Shooting," premiered last year In Competition at Cannes.
- 5/18/2009
- by By Scott Roxborough
- The Hollywood Reporter - Movie News
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